SATV Feb 28,Kathmandu: Not long ago, Nepali films dominated the domestic market, drawing large crowds to theaters across the country. The release of Purna Bahadur Ko Sarangi was a tipping point, followed by films like Pujar Sarki, Mahajatra, and 12 Gaun, which reignited hope for the local industry.
The success of these films signaled a shift, challenging the dominance of Bollywood and Hollywood and reclaiming Nepali cinema’s space in the market. However, that momentum has slowed in recent months, raising concerns about the sustainability of the industry.
Cinemas across Kathmandu are witnessing a shift in audience preferences. Rikesh Dual, a supervisor at a Baneshwor cinema, says Hindi movies are currently performing better than Nepali ones. The theater has seven showtimes allocated for Hindi films, five for Nepali films, and three for Hollywood. Currently, only one Hollywood movie is playing, alongside two Hindi films—one of which is a re-release—and three Nepali films. According to Dual, the schedule reflects audience demand, with Chaava and the re-released Sanam Teri Kasam drawing larger crowds than Nepali films.
Industry insiders acknowledge both the progress and the ongoing challenges in Nepali cinema. Rishi Lamichhane, a noted director, acknowledges the progress but remains realistic: “Nepali cinema has made real strides. Films like Purna Bahadur ko Sarangi, 12 Gaun, Mahajatra, and Chhakka Panja 5 have competed well with international releases. But there’s a systemic problem; filmmakers are working alone without proper support from the government or industry. That limits what’s possible.”
The decline in audience numbers has also affected theatre business. Prakash Parajuli, a supervisor at Big Movies in Dillibazaar, says that since late December, audience turnout for Nepali films has dropped, while Hollywood superhero franchises and Hindi films continue to attract larger crowds. He notes that theatre schedules are dictated by audience demand, with profitability determining what stays on the screen.
Challenges for the industry begin long before films reach theatres. Sugam Tamang, a student of filmmaking at Kantipur Academy, highlights gaps in education, stating that while theoretical knowledge is disseminated, there is little practical training. This, he says, forces directors to compromise, making films that prioritise commercial appeal over artistic or narrative depth.
Even established actors and productions have struggled to meet audience expectations. Pradip Khadka, one of the leading actors in recent years, faced a setback with his latest film, Aktor: Take One, which failed to resonate with viewers.
Film Development Board, Nepal Chairperson Dinesh DC addressed the issue, saying, “The film was pulled from theatres just two days after its release due to a lawsuit. Honestly, though, the reasons behind the legal dispute haven't been made public.”
Despite these challenges, industry leaders remain hopeful. DC describes cinema as an influential media capable of shaping perceptions and cultural narratives.
He acknowledges the impact of Purna Bahadur Ko Sarangi but says, “No Nepali film has recently matched its level of artistic success or public enthusiasm.”
However, he emphasises that fluctuations in success are a natural part of the industry.
While Nepali cinema has seen moments of brilliance, industry experts argue that isolated successes are not enough to sustain long-term growth. Lamichhane believes that for the local film industry to thrive, “it requires stronger collaboration, improved training opportunities for filmmakers, and consistent support from both the government and the public.” Only then, he says, “can Nepali films gain their space in the hearts of audiences and move toward a future where the industry is not merely surviving, but flourishing.”
